The Music Man
by sharonarnotdon
Summary: PotO characters reinact the famous musical... In their own way


_The Music Man- Part One- Scenes 1-20_

AN- My two favourite musicals _in one combined._ Lol. Ok, I'm gonna start by showing you who plays whom. But let you be warned... The PotO characters aren't exactly playing the TMM characters, but well, you'll get it when you read it! BTW, I _couldn't care LESS, if you do not like it, and what is wrong with it. I'm not stupid, contrary to what you may think, I'm 23 goddamn years old, I've never said I had talent and never been conceited, I do this simply to ease stress and if you have a problem, tough noggies!_ Movie Based, not staged musical.

  


The Music Man - Erik

Marian Paroo- Christine

Tommy Djilas- Raoul

Zaneeta Shinn- Meg

Mrs. Eulalie Mackeknie Shinn- Mme. Giry

Mayor Shinn- Jules Giry (He's ALIVE I SAY! ALIVE!)

Marcellus Washburn- Nadir Khan

Charlie Cowell- Giles Andre (certain performances by Richard Firmin)

Widow Paroo- Mama Valerius

Winthrop Paroo- *Introducing*- Philippe Chibbi!

Amaryllis- Sorelli Chibbi

Ethel Toffelmier- CPC (Crazy Persian Chick)

Uhhhh. Extras by TMM extras blah blah blah.

BTW- The Philippe/Jammes' Chibbi's©Christine Daaerre, 2003. I am their agent! You make an appointment with me, if you want to use them in your stories.

  


WARNING- WHEN THIS IS UPDATED IT IS _DONE ON THE SAME DOCUMENT_! JUST SCROLL DOWN FROM WHERE YOU READ BEFORE!

* * *

  


_And on to the show! _

_~Scene One~ Rock Island~_

*Curtains open to reveal a train, from somewhere, destined for Paris, GILES runs on just as it is pulling from the depot, heading for Paris.*

  


COMPOSER 3- Drumrolls are no good for the openings

  


COMPOSER 1- Hey Giles, do you use drumrolls at curtain openings?

  


GILES ANDRE- No, sir!

  


COMPOSER 2- Why not?

  


COMPOSER 1- It's old fashioned!

  


COMPOSER 7- What do you write friend?

  


ERIK (unknown to them)- Whatever will get me money and a name in fame, friend.

_(Song Begins)_

COMPOSER 1- Chimes, for the curtain calls

  


COMPOSER 2- Chimes for the overtures

  


COMPOSER 3- Chimes for the scene shifts, and the drama and the romance.

  


COMPOSER1- Chimes for the fancy shows chimes for simple shows

  


COMPOSER 5- Chimes for the French ones, and Italian and Hungarian

  


COMPOSER 1- Chimes for the big stars, little stars, chorus stars, chimes for the mangers and the orchestra men.

  


COMPOSER 4- Look, wadda ya talk, wadda ya talk? Wadda ya talk?

  


COMPOSER 6- Where'd ya get it?

  


COMPOSER 4- Wadda ya talk?

  


COMPOSER 1- You can talk, you can talk you can bicker you can talk. You can bicker, bicker, bicker, you can talk you can talk, you can talk, talk, talk, talk, bicker, bicker, bicker, you can talk all you want but it's different than it was.

  


GILES- No it ain't, no it ain't but ya gotta know the opéra.

  


TRAIN- Shh, shh, shh, shh

  


COMPOSER 3- Well now the Model C (a carriage) Bleu made people wanna get, wanna go wanna get , wanna get up and go 7,8,9,10,12,14,22,23 miles to Palais Garnier.

  


COMPOSER- Yes, sir, yes sir, yes sir,

  


COMPOSER 3- Whose gonna patronize a little bitty two by four kinda score anymore?

  


COMPOSER 4- Look, wadda ya talk, wadda ya talk?

  


COMPOSER 2- Gone, gone

  


COMPOSER 1- Gone with the big stars little stars, chorus stars gone with the royalty and the nobles and the laymen. Gone with the men and the women and the elderly.

  


COMPOSER- Ever meet a dark man by the name of Erik?

  


C1- Erik?

  


C2- Erik?

  


C3- Erik?

  


C4- Erik?

  


C5- Erik?

  


C6- Erik?

  


C7- Erik?

  


COMPOSER- Erik!

  


ALL- NO!

  


GILES- Justa minute, just minute, justa minute

  


C3- Never heard of no composer Erik

  


COMPOSER- Now he doesn't know the opéra.

  


C2- Doesn't know the opéra!

  


C3- What's the fella's line?

  


COMPOSER- Never worries bout his line!

  


C3- Never worries bout his line?

  


COMPOSER- Or a doggone thing! He's just a *in GILES face* bang beat, bell ringin, big whole rate, go neck or nothing, ding donger and every time a bull's-eye composer, that's a Mister Erik nothin, Erik nothin.

  


C2- What's the fella's line? What's his line?

  


GILES- He's a fake! And he doesn't know the opéra.

  


C3- What? What?

  


COMPOSER- He's a Music Man!

  


C2- He's a what?

  


C5- He's a who?

  


COMPOSER- He's a Music Man and he sells minuets, to the managers around, with the big auditoriums and the ballet rats galore. Big masked face, big dark cape. And music lessons to the young dancers who can sing sorta too with some shiny new pins and a thinkin system to go along.

  


C1- Well I don't know much about singing but I do know you cant make a livin off of teachin dancers to sing. No sir, here and there in Opera Bastille perhaps and in another country I suppose...

  


COMPOSER- No, the fella sells music, mainly music, I don't know how he does it. But he lives like a king and he dallies and he gathers and he plucks and he shines, and when the man dances, certainly boys, what else? The paper pays him. Yes, sir! Yes sir! Yes sir! When the man dances certainly boys, what else? The paper pays him!

  


ALL- Yes, sir! Yes sir!

  


GILES- But he doesn't know the opéra! 

  


(_Song ends)_

*TRAIN halts to a stop. scattering the men inside.*

CONDUCTOR- Paris station. Just crossed the country line into France. Population Paris *made up*69,012. 

  


GILES- All right, if you're all through I'll tell you about this fella Erik.

  


COMPOSER- Say, you know Erik?

  


GILES- I never saw him in my life! But I just been run out of town because of Erik, he's give every one of us a black eye. You go into town to call on the house's and their sittin' there waitin' for ya with bars and tethers to ride ya out the city limits on their flails.

  


RANDOM PERSON- How da ya account for a thing like that?

  


GILES- It's this Erik. He goes to opera's selling music pieces and singing lessons and libretto hooks. By guaranteeing the managers a hit.

  


RP- Stands to reason...

  


GILES-*interrupting* And to organize these people into a company with himself as the conductor.

  


RP- What's wrong with that?

  


GILES- He don't know one opera from another! He don't know a base drum from a pipe organ. He's a bare faced, double shuffled, two-bit thimblerigger, and I'm gonna catch up with him one of these days. When I do I'm gonna have the law on him soooo quick!

  


C1- I'd sure like to be there when you catch up with him

  


GILES- I'm not about to catch up with him Paris, not on your kidney plaster, he's to smart to pull that flim-flam out here. Not on these neck bowed hawkeyes.

  


ERIK*gathering things*- Gentleman you intrigue me! I think I'll have to give Paris a try.

  


GILES- Don't believe I caught your name

  


ERIK- I don't believe I dropped it. *turns suitcase to face GILES, smiles and exits train.*

* * *

  


_~Scene Two- Parisian Stubborn~_

  


ERIK- *waves, turns to man*- Uh, sir? *man walks by, ERIK tips his hat*

  


ERIK makes his way over to a man with his baby buggy, obviously waiting for his wife.

  


ERIK*pointing*- Fine looking son ya got there

  


MAN- For a baby, yeah

  


ERIK *tips his hat again, continues moving and meets a man scooping horse droppings* 'Scuse me, can you direct me to the Paris Opera?

  


MAN2- *looks round* Right by the Bl. Des Capucines

  


ERIK* tips hat, continues walking, meets men selling bagguettes* Pardon me, could you tell me where a nice hotel I can stay in might be?

  


BAKER- Try the Ritz in NY.

  


ERIK*tips hat, not noticing the men now following him, or so they think* Hello neighbor, I'm new around here, what do you folks do for excitement?

  


UNDERTAKER- Mind our business.

  


BAKER- You are in Pair-er-ee

  


ERIK- Pair-er-ee? At least I know how to pronounce it, I always thought you folks preferred Pair-ee

  


WOMAN- We do

  


ERIK- But he just said, Pair-er-ee

WOMAN- Well you gotta get the word to fit the music somehow

  


BLACKSMITH- We are, from

  


BLACKSMITH AND ERIK- Pair-er-ee

  


ERIK- I know

(walks with them a bit)

Well, you folks certainly know how to make a body feel at home

_(Song begins)_

  


BAKER- Oh, there's nothing halfway way, about the Parisian way to treat you when we treat you

  


MAN- Which we may not do at all. There's a Parisian type, a special chip on the shoulder attitude we've never been without...

  


WOMAN- That we recall

  


ALL BUT ERIK- We can be cold as the falling thermometer in December if you ask about our weather in July...

  


MAN2- And we're so by God stubborn we can stand touching noses for a week at a time and never see eye to eye!

  


ALL- But what the heck, you're welcome, join us at the picnic....

  


MAN- You can eat your fill....

  


MAN3- Of all the food you bring yourself you really ought to give Pair-er-ee a try

  


MAN4- Provided you are contrary

  


BOY- Morning Monsieur Giry

  


ALL- Good Morning Monsieur Giry

  


J.GIRY- It is if you want to go around in fur all day!

  


ALL- We can be cold as the falling thermometer in December if you ask about our weather in July, and we're so by God stubborn we can stand touching noses for a week at a time and never see eye to eye... But we'll give you our shirt. And the back to go with it. If your job should happen to fly...

  


MAN5- But what the heck you're welcome, glad to have you with us...

  


WITH WOAMN2- Even if we never ever mention it again...

  


ALL- You really ought to give, Pair-er-ee, frog legs Pair-er-ee, and Versailles, Annecy, Avignon, Metz, Epinal, Orleans, ought to give Paris, a try!

  


(ERIK grins and runs off to the livery stable)

  
  



End file.
